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A NOTE BY WILLIAM MORRIS ON HIS 
AIMSINFOUNDINGTHE KELMSCOTT 
PRESS J& TOGETHER WITH A SHORT 
DESCRIPTION OF THE PRESS BY S. C. 
COCKERELL, & AN ANNOTATED LIST 
OF THE BOOKS PRINTED THEREAT. 



>? 






A NOTE BY WILLIAM MORRIS ON HIS 
AIMS IN FOUNDINGTHE KELMSCOTT 
PRESS J& TOGETHER WITH A SHORT 
DESCRIPTION OF THE PRESS BY S. C. 
COCKERELL, & AN ANNOTATED LIST 
OF THE BOOKS PRINTED THEREAT. 










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^ 



NOTE BY WILLIAM MORRIS 
ON HIS AIMS IN FOUNDING 
THE KELMSCOTTPRESSa*a* 
BEGAN printing books with 
thehopeofproducingsome which 
j would have a definite claim to 
I beauty, while at the same time 
they should be easy to read and 
J should not dazzle the eye, or trou^ 
ble the intellect of the reader by eccentric 
city of form in the letters* I have always 
been a great admirer of the calligraphy of 
the Middle Ages, & of the earlierprinting 
which took its place* As to the fifteenths 
century books, I had noticed that they 
were always beautiful by force of the mere 
typography, even without the added or^ 
nament, with which many of them are 
so lavishly supplied* And it was the es^ 
sence of my undertaking to produce books 
which it would be a pleasure to look upon 
as pieces of printing and arrangement of 
type. Looking at my adventure from this 
point of view then, I found I had to con^ 
sider chiefly the following things: the 
paper, the form of the type, the relative ' 
spacing of the letters, the words, and the 









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: — ■ — 



lines; and lastly the position of the printed matter 
on the page* 

It was a matter of course that I should consider 
it necessary that the paper should be hand«<made, 
both for the sake of durability and appearance* 
It would be a very false economy to stint in the 
quality of the paper as to price: so I had only to 
think about the kind of hand^made paper* On 
this head I came to two conclusions: ist,that the 
paper must be wholly of linen (most hand^made 
papers are of cotton today), and must be quite 
4 hard/ i.e,, thoroughly well sized; and 2nd, that, 
though it must be 1 laid' and not t wove' (i,e*, made 
on a mould made of obvious wires), the lines 
caused by the wires of the mould must not be too 
strong, so as to give a ribbed appearance* I found 
that on these points I was at one with the practice 
of the papermakers of the fifteenth century; so I 
took as my model a Bolognese paper of about 
1473. My friend Mr, Batchelor, of Little Chart, 
Kent, carried out my views very satisfactorily, & 
produced from the first the excellent paper which 
I still use* 

Next as to type. By instinct rather than by con-' 
scious thinking it over, I began by getting myself 
a fount of Roman type. And here what I wanted 
was letter pure in form; severe, without needless 
excrescences; solid, without the thickening and 
thinning of the line, which is the essential fault of 
the ordinary modern type, and which makes it 
2 



* 



difficult to read; and not compressed laterally, as 
all later type has grown to be owing to commer/ 
cial exigencies* There was only one source from 
which to take examples of this perfected Roman 
type, to wit, the works of the great Venetian print" 
ers of the fifteenth century, of whom Nicholas 
Jenson produced the completest & most Roman 
characters from 1470 to 1476* This type I studied 
with much care, getting it photographed to a big 
scale, & drawin g it over many times before I began 
designing my own letter; so that though I think I 
mastered the essence of it, I did not copy it ser^ 
vilely; in fact, my Roman type, especially in the 
lower case, tends rather more to the Gothic than 
doesjenson's* 

After a while I felt that I must have a Gothic as 
well as a Roman fount; and herein the task I set 
myself was to redeem the Gothic character from 
the charge of unreadableness which is commonly 
brought against it* And I feltthatthis chargecould 
not be reasonably brought against the types of 
the first two decades of printing: that SchoefFer 
at Mainz, Mentelin at Strasburg, and Gunther 
Zainer at Augsburg, avoided the spiky ends and 
undue compression which lay some of the later 
type open to the above charge* Only the earlier 
printers (naturally following therein the practice 
of their predecessors the scribes) were very liberal 
of contractions, and used an excess of ' tied' letters, 
which, by the way, are very useful to the com/ 
bz 3 






mm^mm 



positor* So I entirely eschewed contractions, ex^ 
cept for the '&/ and had very few tied letters, in 
fact none but the absolutely necessary ones* Keep/ 
ing my end steadily in view, I designed a blacks 
letter type which I think I may claim to be as read' 
able as a Roman one, and to say the truth I prefer 
it to the Roman* This type is of the size called 
Great Primer (the Roman type is of 'English' 
size) ; but later on I was driven by the necessities 
of the Chaucer (a double^columned book) to get 
a smaller Gothic type of Pica size* 
The punches for all these types* I may mention, 
were cut for me with great intelligence and skill 
by Mr* E* P* Prince, and render my designs most 
satisfactorily* 

Nowastothespacing:First,the'face'oftheletter 
should be as nearly conterminous with the 'body' 
as possible* so as to avoid undue whites between 
the letters* Next, the lateral spaces between the 
words should be (a) no more than is necessary to 
distinguish clearly the division into words, and 
(b) should be as nearly equal as possible* Modern 
printers, even the best, pay very little heed to these 
two essentials of seemly composition, and the in^ 
ferior ones run riot in licentious spacing, thereby 
producing, inter alia, those ugly rivers of lines run/ 
ning about the page which are such a blemish to de/ 
cent printing* Third, the whites between the lines 
should not be excessive; the modern practice of 
'leading' should be used as little as possible, and 



never without some definite reason, such as mark^ 
ingsomespecial piece of printing* The only lead' 
inglhave allowed myself is in some casesa'thin' 
lead between the lines of my Gothic pica type: in 
the Chaucer and the double^columned books I 
have used a 'hair' lead, and not even this in the 
i6mo books* Lastly, but by no means least, comes 
the position of the printed matter on the page* 
This should always leave the inner margin the 
narrowest, the top somewhat wider, the outside 
(fore-edge) wider still, and the bottom widest of 
alL This rule is never departed from in mediaeval 
books, written or printed* Modern printers sys/ 
tematically transgress against it; thus apparently 
contradicting the fact that the unitof abook is not 
one page, but a pair of pages* A friend, the librae 
rian of oneof our most importantprivate libraries, 
tells me that after careful testing he has come to 
the conclusion thatthe mediaeval rule was to make 
a difference of 20 per cent* from margin to mar/ 
gin* Now these matters of spacing and position 
are of the greatest importance in the production 
ofbeautifulbooks;iftheyare properly considered 
they will make a book printed in quite ordinary 
type at least decent and pleasant to the eye* The 
disregard of them will spoil the effect of the best 
designed type* 

It was only natural that I, a decorator by profess 
sion, should attempt to ornament my books suit' 
ably : about this matter, I will only say that I have 

5 



wm 






always tried to keep in mind the necessity for 
making my decoration a part of the page of type* 
I may add that in designing the magnificent and 
inimitable woodcuts which have adorned several 
of my books, and will aboveall adorn the Chaucer 
which is now drawing near completion, my friend 
Sir Edward Burne^Jones has never lost sight of 
this important point, so that his work will not only 
give us a series of most beautiful and imaginative 
pictures, but form the most harmonious decora** 
tion possible to the printed book* 

Kelmscott House, Upper Mall, Hammersmith* 
Nova 1,1895* 



A SHORT HISTORY AND DESCRIP/ 
TION OF THE KELMSCOTT PRESS. 

The foregoing article was written at the request 
of a London bookseller for an American client 
who was about to read a paper on the Kelmscott 
Press* As the Press is now closing, and its seven 
years' existence will soon be a matter of history, 
it seems fitting to set down some other facts con/ 
cerning it while they can stillbe verified; the more 
so as statements founded on imperfect informa/ 
tion have appeared from time to time in news/ 
papers and reviews* 

As early as 1866 an edition of The Earthly Para/ 
dise was projected, which was to have been a folio 
in double columns, profusely illustrated by Sir 
Edward Burne/Jones,and typographically supe/ 
rior to the books of that time. The designs for the 
stories of Cupid and Psyche, Pygmalion and the 
Image, The Ring given to Venus, andThe Hill of 
Venus, were finished, and forty/four of those for 
Cupid and Psychewere engraved on wood in line, 
somewhat in the manner of the early German 
masters. About thirty /five of the blocks were exe/ 
cuted by William Morris himself, & the remain/ 
der bv George Y. Wardle, G. F. Campfield, C.J. 
Faulkner, and Miss Elizabeth Burden.Specimen 
pages were set up in Caslon type, and in the Chis/ 
wick Press type afterwards used in The House of 
the Wolfings, but for various reasons the project 
went no further. Four or five years later there was a 

7 



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■5HHH 



3^ 



plan for an illustrated edition of Love is Enough, 
for which two initial L/s and seven side ornaments 
were drawn & engraved by William Morris* An/ 
other marginal ornament was engraved by him 
from a design bySirE*Rurne'Jones,who also drew 
a picture for the frontispiece, which has now been 
engraved by W* PL Hooper for the final page of 
the Kelmscott Press edition of the work* These 
side ornaments, three of which appear on the op/ 
posite page, are more delicate than any that were 
designed for the Kelmscott Press, but they show 
that when the Press was started the idea of revrv 
ing some of the decorative features of the earliest 
printedbookshadbeenlongin itsfounder's mind* 
At this same period* in the early seventies, he was 
much absorbed in the study of ancient manux 
scripts, & in writing out and illuminating various 
books, including a Horace and an Omar Khay/ 
yam, which may have led his thoughts away from 
printing* In any case, the plan of an illustrated 
LoveisEnough,likethatofthefolio Earthly Para^ 
dise, was abandoned* 

Although the books written by William Morris 
continued to be reasonably printed, it was not un/ 
til about 1888 thatheagainpaidmuchattention to 
typography* Hewas then, & for the restof his life, 
whennotawayfromHammersmithjin daily com/ 
municationwith his friendand neighbour Emery 
Walker,whoseviewsonthesubjectcoincidedwith 
his own, and who had besides a practical know 
8 






h 




Ornaments designed and engraved for Love is Enough. 

9 



m 






ledge of the technique of printing* These views 
were first expressed in an article by Mr* Walker 
in the catalogue of the exhibition of the Arts and 
Crafts Exhibition Society,heldattheNewGaL' 
lery in the autumn of 1888* As a result of many 
conversations, The House of the Wolfings was 
printed at the Chiswick Press at this time* with a 
special type modelled on an old Basel fount, un/ 
leaded, and with due regard to proportion in the 
margins*The title-page was also carefully arrange 
ed* In the following year The Roots of the Moun^ 
tains was printed with the same type (except the 
lower case e), but with a differently proportioned 
page, & with shoulder^notes instead of headlines* 
This book was published in November, 1889, & 
its author declared it to be the best/looking book 
issued since the seventeenth century. Instead of 
large paper copies, which had been found unsat^ 
isfactory in the case of The House of the Wolf* 
ings, two hundred and fifty copies were printed on 
Whatman paper of about the same size as the . 
paper of the ordinary copies* A small stock of this 3 
paper remained over, and in order to dispose of it "5 
seventy^five copies of the translation ofthe Gumv 
laug Saga, which first appeared in the Fortnightly 
Review of January, 1869, and afterwards in Three 
Northern Love Stories, were printed at theChis^ 
wick Press* The type used was a black-letter co^ 
pied from one of Caxton's founts, and the initials 
wereleftblanktoberubricated byhand* Threeco' 



pies were printed on vellum* This little book was 
not however finished until November, 1890* 
Meanwhile William Morris had resolved to des 
sign a type of his own* Immediately after The 
Roots of the Mountains appeared, he set to work 
upon it, and in December, 1889, he asked Mr* 
Walker to go into partnership with him as a 
printer* This offer was declined by Mr* Walker; 
but, though not concerned with the financial side 
of the enterprise, he was virtually a partner in the 
Kelmscott Press from its first beginnings to its 
end, and no important step was taken without his 
advice & approval* Indeed, the original intention 
was to have the books set up in Hammersmith 
and printed at his office in Clifford's Inn* 
Itwasatthis time that William Morris began to 
collect the mediaeval books of which he formed so 
fine a library in the next six years* He had made 
a small collection of such books years before, but 
had parted with most of them, to his great regret* 
He now bought with the definite purpose of 
studying the type & methods of the early printers* 
Among the first books so acquired was a copy of 
Leonard of Arezzo's History of Florence* printed 
at Venice by Jacobus Rubeus in 1476, in a Roman 
typeyerysimilartothatofNicholasJenson* Parts 
of this book and of Jenson's Pliny of 1476 were 
enlarged by photography in order to bring out 
more clearly the characteristics of the various let' 
ters; and having mastered both their virtues and 

11 



defects, William Morris proceeded to design the 
fount of type which, in the list of December, 1892, 
he named the Golden type, fromThe Golden Le/ 
gend, which was to have been the first book printed 
with it* This fount consists of eighty/one designs, 
including stops, figures, & tied letters* The lower 
case alphabet was finished in a few months* The 
first letter having been cut in Great Primer size by 
Mr* Prince, was thought too large, and* English' 
was the size resolved upon* By the middle of Au^ 
gust, 1890, eleven punches had been cut* At the 
end of the year the fount was all but complete* 
On Jan* 12th, 1891, a cottage, No* 16, Upper Mall, 
was taken* Mr* William Bowden, a retired mas/ 
ter'printer,hadalreadybeen engaged to act as com/ 
positorandpressman* Enough type was then cast 
for atrial page, which was set up and printed on 
Saturday, Jan* 31st, on a sample of the paper that 
was being made for the Press by J* Batchelor and 
Son* About a fortnight later ten reams of paper 
were delivered* On Feb* 18th a good supply of type 
followed* Mr*W* H* Bowden, who subsequently 
became overseer,then joined hisfather as compost 
tor, and the first chapters of The Glittering Plain 
were set up* The first sheet appears to have been 
printed on March 2nd, when the staff was increase 
ed to three by the addition of a pressman named 
Giles, who left as soon as the book was finished* 
A friend who saw William Morris on the day 
after the printing of the page above mentioned 
12 



recalls his elation at the success of his new type. 
The first volume of the Saga Library, a creditable 
piece of printing, was brought out and put beside 
this trial page, which much more than held its 
own*The poet then declaredhisintentiontosetto 
work immediately on ablack>letter fount; illness, 
however, intervened & it was not begun till June, 
The lower case alphabet was finished by the be^ 
ginning of August, with the exception of thetied 
letters, the designs for which, with those for the 
capitals, were sent to Mr* Prince on September 
nth* Early in November enough type was cast for 
two trial pages, the one consisting of twenty^six 
lines of Chaucer's Franklin's Tale and the other 
of sixteen lines of Sigurd the Volsung* In each of 
these a capital I is used that was immediately dis-* 
carded* On the last day of 1891 the full stock of 
Troy type was despatched from the foundry* Its 
first appearance was in a paragraph, announcing 
the book from which it took its name, in the list 
dated May, 1892* 

This Troy type, which its designer preferred to 
either of the others, shows the influence of the 
beautiful early types of Peter Schoeffer of Mainz, 
Gunther Zainer of Augsburg, & Anthony Kc 
burger of Nuremberg; but, even more than the 
Golden type, it has a strong character of its own, 
which differs largely from that of any mediaeval 
fount* It has recently been pirated abroad, and is 
advertised by an enterprising German firm as 

13 



mmms^m^sBmmmmammmmr ^mmmass^sa 



'Die amerikanische Triumphs Gothisch/ The 
Golden type has perhaps fared worse in being re^ 
modelled in the United States, whence, with much 
of its character lost, it has found its way back to 
England under the names I Venetian/ ' Italian/ & 
'Jenson/ It is strange that no one has yet had the 
good sensetohavetheactualtypeof Nicholas) en<* 
son reproduced* 

The third type used at the Kelmscott Press, called 
the * Chaucer/ differs from the Troy type only in 
size, being Pica instead of Great Primer* It was cut 
by Mn Prince between February and May, 1892, 
& was ready in June* Its first appearance is in the 
list of chapters and glossary of The Recuyell of 
the Historyes of Troy e, which was issued on No/ 
vember 24th, 1892* 

On June 2nd of that year /William Morris wrote 
to Mr* Prince: * I believe in about three months' 
time I shall be ready with anew set of sketches for 
a fount of type on English body/ These sketches 
were not forthcoming; but on Nov* 5th, 1892, he 
bought a copy of Augustinus De Civitate Dei, 
printed at the Monastery of Subiaco near Rome 
by Sweynheym & Pannartz, with a rather com^ 
pressed type, which appears in only three known 
books* He at once designed a lower case alphabet 
on this model, but was not satisfied with it & did 
not have it cut* This was his last actual experiment 
in the designing of type, though he sometimes 
talked of designing a new fount, & of having the 

m 



wmmmmm 



Golden type cut in a larger size* 
Next in importance to the type are the initials, 
borders, & ornaments designed by William Mor^ 
ris* The first book contains a single recto border 
and twenty different initials* In the next book, 
Poems by the Way, the number of different ini' 
tials is fiftynine* These early initials, many of 
which were soon discarded, are for the most part 
suggestive, like the first border, of the ornament 
in Italian manuscripts of the fifteenth century* In 
Blunt' s Love Lyrics there are seven letters of a 
new alphabet, with backgrounds of naturalesque 
grapes and vine leaves, the result of a visit to Beau^ 
vais,wherethegreatporches are carved with vines, 
in August, 1891* From that time onwards fresh 
designs were constantly added, the tendency being 
always towards larger foliage and lighter backx 
grounds, as the early initials were found to be 
sometimes too dark for the type* The total num/ 
ber of initials of various sizes designed for the 
Kelmscott Press, including a few that were en^ 
graved but never used, is three hundred & eighty 
four* Of the letter T alone there are no less than 
thirtyfour varieties* 

The total number of different borders engraved for 
the Press, including one that was not used, but ex^ 
eluding the three borders designed forThe Earths 
ly Paradise by R. Catterson^Smith, is fiftyseven* 
The first book to contain a marginal ornament, 
other than these full borders, was The Defence 

15 






of Guenevere, which has a halkborder on p*74» 
There are two others in the preface toThe Golden 
Legend*The Recuyell of the Historyes of Troye 
is the first book in which there is a profusion of 
such ornament* One hundred and eight different 
designs for marginal ornaments were engraved* 
Besides the above-named designs, thereare seven 
frames for the pictures in The Glittering Plain, 
one frame for those in a projected edition of The 
House of the Wblfings, nineteen frames for the 
pictures in the Chaucer (one of which was not used 
in the book), twentyeight title-pages & inscrip^ 
tions,twentysix large initial words for the Chau^ 
cer, seven initial words forTheWell at theWorld's 
End and The Water of the Wondrous Isles, four 
line^endings,and three printer's marks, making a 
total of six hundred & forty*" four designs byWilx 
liam Morris, drawn and engraved within seven 
years* All the initials & ornaments that recur were 
printed from electrotypes, while most of the titles 
pages and initial words were printed direct from 
the wood*The illustrations by Sir E dward Burner 
Jones, Walter Crane, & C * M * Gere were also, with 
one ortwoexceptions,printed from the wood*The 
original designs by Sir E* Burne Jones were near' 
ly all in pencil, & were redrawn in ink by R, Cat' 
terson^Smith, and in a few cases by C* Fairfax 
Murray; they were then revised by the artist and 
transferred to the wood by means of photography. 
The twelve designs by A, J* Gaskin for Spenser's 
16 



u- airwfcyi 



Shejjheardes Calender, the map in The Sunder^ 
ingFlood,&thethirty^five reproductions inSome 
German Woodcuts ofthe FifteenthCentury,were 
printed from process blocks* 
All the woodblocks for initials, ornaments, and i\* 
lustrations, were engraved by W* H* Hooper, C* 
E* Keates, & W» Spielmeyer, except the twenty 
three blocks for The Glittering Plain, which were 
engraved by A* Leverett, and a few ofthe earliest 
initials, engraved by G* F* Campfield* The whole 
of these woodblocks have been sent to the British 
Museum, and have been accepted with a condition 
that they shall not be reproduced or printed from 
forthe space of a hundred years* The electrotypes 
have been destroyed* In taking this course, which 
was sanctioned by William M orris when the mat' 
ter was talked of shortly before his death,the aim of 
thetrusteeshasbeentokeeptheseriesofKelmscott 
Press books as a thingapart, and to prevent the de- 
signs becoming stale by constant repetition* Many 
of them have been stolen & parodied in America, 
but in this country they are fortunately copyright* 
The type remains in the hands of the trustees, and 
willbeusedfortheprintingof its designer's works, 
should special editions be called for*Oth er books of 
which he would have approved may also be prints 
ed with it; the absence of initials and ornament 
will always distinguish them sufficiently from the 
books printed at the Kelmscott Press* 
The nature of the English handmade paper used 
c 17 



at the Press has been described by William Mor/ 
ris in the foregoing article ♦ It was at first supplied 
in sheets of which the dimensions were sixteen 
inches by eleven* Each sheet hadasawatermarka 
conventionalprimrosebetween the initials W* M* 
As stated above, The Golden Legend was to have 
been the first book put in hand, but as only two 
pages could have been printed at a time, and this 
would have made it very costly, paper of double 
the size was ordered for this work, and The Story 
of the Glittering Plain was begun instead/This 
book is a small quarto, as are its five immediate 
successors, each sheet being folded twice* Thelast 
ream of the smaller sizeof paperwasusedonThe 
Order of Chivalry* All the other volumes of that 
series are printed in octavo, on paper of the double 
size* For the Chaucer a stouter and slightly larger 
paper was needed* This has for its watermark a 
Perch with a spray in itsmouth* Many of thelarge 
quarto books were printedonthis paper, of which 
the first two reams were delivered in February, 
1893* Only one other size of paper was used at the 
Kelmscott Press* The watermark of this is an 
Apple, with the initialsWM*,asintheother two 
watermarks* The books printed on this paper are 
TheEarthly Paradise, The Floureand the Leafe, 
The Shepheardes Calender, and Sigurd the Volx 
sung*Thelast<namedisafo!io,andtheopenbook 
shows the size of the sheet, which is about eigh^ 
teen inches by thirteen* The first supply of this 
18 



Apple paper was delivered on March 15, 1895* 
Except in the case of Blunt's Love Lyrics, The 
Nature ofGothic^Bihlialnnocentium^The Gold-' 
en Legend, and The Book of Wisdom & Lies, a 
few copies of all thebookswereprinted on vellum* 
The six copies of The Glittering Plain were prints 
ed on very fine vellum obtained from Rome, of 
which it was impossible to get a second supply as 
it was all required by the Vatican* The vellum for 
the other books, except for two or three copies of 
Poems by the Way, which were on the Roman 
vellum, was supplied by H* Band of Brentford, 
and by W* J ♦Turney & Co* of Stourbridge* There 
are three complete vellum sets in existence, and 
the extreme difficulty of completing a set after the 
copies are scattered, makes it unlikely that there 
will ever be a fourth* 

The black ink which proved most satisfactory, 
after that of more than one English firmhadbeen 
tried, was obtained from Hanover* William Mor<> 
ris often spoke of making his own ink, in order to 
be certain of the ingredients, but his intention was 
never carried out* 

The binding of the books in vellum and in half* 
holland was from thefirst done by J*&J*Leighton* 
Most of the vellum used was white, or nearly so, 
but William Morris himself preferred it dark, & 
the skins showing brown hair^marks were reserve 
ed for the binding of his own copies of the books* 
The silk ties of four colours, red, blue, yellow, and 

C2 19 



freen, were specially woven and dyed* 
n the following section fifty'two works, in sixty/ 
six volumes, are described as having been printed 
at the Kelmscott Press, besides the two pages of 
Froissart's Chronicles* It is scarcely necessary to 
add that only hand presses have been used, of the 
type known as 'Albion/ In the early days there 
was only one press on which the books were prints 
ed, besides a small press for takingproofs* At the 
end of May, 1891, larger premises were taken at 
14, Upper Mall, next door to the cottage already 
referred to, which was given up in June* In No/ 
vember, 1891, a second press was bought, as The 
Golden Legend was not yet half finished, and it 
seemed as though the last of its 1286 pages would 
never be reached* Three years later another small 
house was taken, No* 14 being still retained*This 
was No* 21, Upper Mall, overlooking the river, 
which acted as a reflector, so that there was an ex^ 
cellent light for printing* In January, 1895, athird 
press, specially made for the work, was set up here 
in order that two presses might be employed on the 
Chaucer*This press has already passed into other 
hands,andthe little house, with its many associa^ 
tions, and its pleasant outlook towards Chiswick 
and Mortlake, is now being transformed into a 
granary /The last sheet printed there was that on 
which are the frontispiece and title of this book* 

14, Upper Mall, Hammersmith, January 4, 1898* 

20 



AN ANNOTATED LIST OF ALLTHE 
BOOKS PRINTED AT THE KELMS. 
COTT PRESS IN THE ORDER IN 
WHICH THEY WERE ISSUED. 
Note; The borders are numbered as far as pos^ 
sible in the order of their first appearance, those 
which appear on a verso or left hand page being 
distinguished by the addition of theletter'a' to the 
numbers of the recto borders of similar design* 
i*THE STORYOFTHE GLITTERING 
PLAIN. WHICH HAS BEEN ALSO 
CALLED THE LAND OF LIVING 
MEN OR THE ACRE OF THE UNDY. 
ING. WRITTEN BY WILLIAM MOR, 
RIS- Small4to* Golden type* Border U 200 paper 
copies at two guineas, and 6 on vellum* Dated 
April 4, issued May 8, 1891* Sold by Reeves & 
Turner* Bound in stiff vellum with washleather 
ties* 

x& This book was set up from Nos* 81^4 of The 
English Illustrated Magazine* in which it first 
appeared; some of the chapter headings were re 
arranged, and a few small corrections were made in 
the text* A trial page/the first printed at the Press* 
was struck off on January 31, 1891, but the first 
sheet was not printed until about a month later* 
The border was designed in January of the same 
year* and engraved by W* H* Hooper* Mr* Morris 
had four of the vellum copies bound in green vel' 
lum* three of which he gave to friends* Only two 

21 



JUBJ"J*MU 



copies on vellum were sold, at twelve and fifteen 
guineas/Thiswas the only book with washleather 
ties* All the other vellum-bound books have silk 
ties, except Shelley's Poems and Hand and Soul, 
which have no ties* 

2* POEMS BY THE WAY* WRITTEN 
BYWILLIAM MORRIS. Small 4 to* Golden 
type* In black & red* Border u 300 paper copies at 
two guineas, 13 on vellum at about twelve guineas* 
Dated Sept* 24, issued Oct* 20, 1891* Sold by 
Reeves & Turner* Bound in stiff vellum* 
JP This was the first book printed at the Kelms^ 
cott Press in two colours* & the first book in which 
the smaller printer's mark appeared* After The 
Glittering Plain "was finished* at the beginning of 
April.no printing was done until May n* In the 
meanwhile the compositors were busy setting up 
the early sheets of The Golden Legend* The 
• printing of Poems by the Way* which its author 
first thought of calling Flores Atramenti* was not 
begun until July* The poems in it were written at 
various times* In themanuscript,Hafbur&Signy 
is dated February 4, 1870; Hildebrand& Hillilef, 
March 1, 1871; and Love's Reward* Kelmscott, 
April 2t, 1871* Meeting in Winter is a song from 
The Story of Orpheus, an unpublished poem in- 
tended for The Earthly Paradise* The last poem 
in the book, Goldilocks & Goldilocks* was writ- 
ten on May 20, 1891, for the purpose of adding to 
the bulk of the volume, which was then being 
22 



prepared* A few of the vellum covers were stained 
at Merton red, yellow, indigo, and dark green, but 
the experiment was not successful* 
3* THE LOVE.LYRICS & SONGS OF 
PROTEUS BY WILFRID SCAWEN 
BLUNT WITH THE LOVE.SON/ 
NETS OF PROTEUS BY THE SAME 
AUTHOR NOW REPRINTED IN 
THEIR FULL TEXT WITH MANY 
SONNETS OMITTED FROM THE 
EARLIER EDITIONS. LONDON MD, 
CCCXCIL Small 4*0* Golden type* In black 
and red* Border 1* 300 paper copies at two guineas, 
none on vellum* Dated Jan* 26, issued Feb* 27, 
1892* Sold by Reeves & Turner* Bound in stiff 
vellum* 

jg?This is the only book in which the initials are 
printed in red* This was done by the author's wish * 
4* THE NATURE OF GOTHIC A 
CHAPTER OF THE STONES OF VE. 
NICE. BY JOHN RUSKIN.Withapreface 
by William Morris* Small 4*0* Golden type* 
Border u Diagrams in text* 500 paper copies at 
thirty shillings, none on vellum* Dated in preface 
February 15, issued March 22, 1892* Published 
by George Allen* Bound in stiff vellum* 
j2?This chapter of the Stones of Venice, which 
Ruskin always considered the most important in 
the book* was first printed separately in 1854 as a 
sixpenny pamphlet* Mr* Morris paid more than 

23 






one tribute to it in Hopes and Fears for Art* Of 
him Ruskin said in 1887, i Morris is beaten gold/ 
5-THE DEFENCE OF GUENEVERE, 
AND OTHER POEMS* BY WILLIAM 
MORRIS. Small 4*0* Golden type* In black & 
red* Borders 2 & U 300 paper copies at two guineas* 
ten on vellum at about twelve guineas* Dated 
April 2* issued May 19* 1892* Sold by Reeves & 
Turner* Bound in limp vellum* 
jffi This book was set up from a copy of the edi' 
tion published by Reeves & Turner in 1889* the 
only alteration* except a few corrections* being in 
the nth line of Summer Dawn* It is divided into 
three parts, the poems suggested by Malory's 
Morte d' Arthur, the poems inspired by Frois^ 
sart's Chronicles* and poems on various subjects* 
The two first sections have borders, and the last 
has a half"border*The first sheet was printed on 
February 17, 1892* It was the first book bound in 
limp vellum, and the only one of which the title 
was inscribed by hand on the back* 

6. A DREAM OF JOHN BALL AND A 
KING'S LESSON. BY WILLI AM MOR. 
RIS- Small 4to* Golden type* In black and red* 
Borders 3a, 4, and 2* With a woodcut designed 
by Sir E* Burne>Jones* 300 paper copies at thirty 
shillings* eleven on vellum at ten guineas* Dated 
May 13, issued Sept* 24* 1892* Sold by Reeves & 
Turner* Bound in limp vellum* 
jj^This was set up with a few alterations from a 

24 



copy of Reeves & Turner's third edition, and the 
printing was begun on April 4, 1892* The frontis^ 
piece was redrawn from that to the first edition, 
and engraved on wood by W* H* Hooper, who 
engraved all Sir E* Burne/Jones' designs for the 
Kelmscott Press, except those for The Wood be^ 
yond th eWorld and The Life and Death of Jason* 
The inscription belowthefigures, and thenarrow 
border, were designed by Mr* Morris, & engraved 
with the picture on one block, which was afters 
wards used on a leaflet printed fox the Ancoats 
Brotherhood in February, 1894* 

7- THE GOLDEN LEGEND. By Jacobus 
de Voragine* Translated by William Caxton* 
Edited by F* S* Ellis* 3 vols* Large 4*0. Golden 
type* Borders 5a, 5* 6a. and 7* Woodcut title and 
two woodcuts designed by Sir E* Burne^Jones. 
500 paper copies at five guineas, none on vellum* 
Dated Sept* 12, issued Nov. 3, 1892* Published 
by Bernard Quaritch* Bound in half holland, with 
paper labels printed in the Troy type* 
jjjf In July, 1890, when only a few letters of the 
Golden type had been cut, Mr* Morris bought a 
copy of this book,printed by Wynkyn de worde 
in 1527* He soon afterwards determined to print 
it, and on Sept* u entered into a formal agreement 
with Mr* Quaritch for its publication* It was only 
an unforeseen difficulty about the size of the first 
stock of paper that led toThe Golden Legend not 
being the first book put in hand* It was set up 

25 









mmmmm 



from a transcript of Caxton's first edition, lent by 
the Syndics of the Cambridge University Library 
for the purpose* A trialpage was got out in March, 
1891, & 50 pages were in type by May it, the day 
on which the first sheet was printed* The first vo^ 
lumewas finished, with the exception of the illus^ 
trations and the preliminarymatter,inOct*, 1891* 
The two illustrations and the title (which was the 
first woodcut title designed by Mr* Morris) were 
not engraved until June and August, 1892, when 
the third volume was approaching completion* 
About half a dozen impressions of the illustra^ 
tions were pulled on vellum* A slip askingowners 
of the book not to have it bound with pressure, 
nor to have the edges cut instead of merely trim' 
med, was inserted in each copy* 
8* THE RECUYELL OF THE HISTO 
RYES OF TROYE. ByRaoulLefevreTrans,* 
lated by William Caxton* Edited by H* Halliday 
Sparling* 2 vols* Large 4to* Troy type* with table 
of chapters and glossary in Chaucertype* Inblack 
and red* Borders 5a, 5, and 8* Woodcut title* 300 
paper copies at nine guineas, five on vellum at 
eighty pounds* Dated Oct* 14, issued Nov* 24* 
1892* Published by Bernard Quaritch* Bound in 
limp vellum* 

JS? This book, begun in February, 1892* is the first 
book printed in Troy type, and the first in which 
Chaucer type appears* It is a reprint of the first 
book printed in English* It had long been a fa^ 
26 



vourite with William Morris, who designed a 
great quantity of initials and ornaments for it, and 
wrote the following note for Mr* Quaritch's cata^ 
logue: f As to the matter of the book, it makes a 
thoroughly amusing story, instinct with medi' 
aeval thought and manners* For though written at 
the end of the Middle Ages & dealing with clas^ 
sical mythology, it has in it no token of the com/ 
ing Renaissance, but is purely mediaeval* It is the 
last issue of that story of Troy which through the 
whole of the Middle Ages had such a hold on 
men's imaginations; the story built up from a ru^ 
mour of the Cyclic Poets, of the heroic City of 
Troy, defended by Priam and his gallant sons, 
led by Hector the Preux Chevalier, and beset by 
the violent & brutal Greeks, who were looked on 
as the necessary machinery for bringing about the 
undeniable tragedy of the fall of the city* Surely 
this is well worth reading, if only as a piece of un/ 
diluted medievalism/ 2000 copies of a 4to an/ 
nouncement, with specimen pages, were printed 
at the Kelmscott Press in December, 1892, for dis/ 
tribution by the publisher* 
9. BIBLIA INNOCENTIUM: BEING 
THE STORYOFGOD'S CHOSEN PEC 
PLE BEFORE THE COMING OF OUR 
LORD JESUS CHRISTUPON EARTH, 
WRITTEN ANEWFORCHILDRENBY 
J. W*MACKAIL,SOMETIME FELLOW 
OF BALLIOL COLLEGE, OXFORD. 

2 7 



^^^5 5^^"-- . " 



8vo* Border 2* 200 on paper at a guinea, none on 
vellum* DatedOct*22,issued Dec* 9, 1892* Sold by 
Reeves & Turner* Bound in stiff vellum* 
jfif This was the last book issued in stiff vellum 
except Hand & Soul, and the last with untrinv 
med edges* It was the first book printed in 8vo* 
to-THEHISTORYOFREYNARDTHE 
F9XE BY WILLIAM CAXTON. Re, 
printed from his edition of 1481* Edited by H* 
Halliday Sparling, Large 4to* Troy type* with 
glossary in Chaucer type* In black & red* Borders 
5a and 7* Woodcut title* 300 on paper at three 
guineas, 10 on vellum at fifteen guineas* Dated 
Dec* 15, 1892, issued Jan* 25, 1893* Published by 
Bernard Quaritch* Bound in limp vellum* 
J& About this book* which was first announced 
as in the press in the list dated July, 1892, William 
Morris wrote the following note for Mr* Qua. 
ritch's catalogue: 'This translation of Caxton's 
is oneof the very best of his works as to style; and 
being translated from a kindred tongue is delight. 
ful as mere language* In its rude joviality, and 
simple and direct delineation of character, it is a 
thoroughly good representative of the famousan. 
cient Beast Epic/ The edges of this book, & of all 
subsequent books, were trimmed in accordance 
with the invariable practice of the early printers* 
Mr* Morris much preferred the trimmed edges* 
n*THE POEMSOFWILLIAM SHAKE. 
SPEARE.PRINTEDAFTERTHEORL 
28 



GINAL COPIES OF VENUS AND A. 
DONIS,i 5 93-THE RAPE OF LUCRECE, 
1594. SONNETS, 1609. THE LOVER'S 
COMPLAINT. Edited by R S* Ellis. 8vo* 
Golden type* In black and red* Borders 1 and 2* 
500 paper copies at 25 shillings, to on vellum at 
ten guineas* Dated Jan* 17, issued Feb* 13, 1893* 
Sold by Reeves & Turner* Bound in limp vellum* 
J$t Atrial page of this book was set upon Nov* 1, 
1892* Though the number was large, this has be^ 
come oneoftherarestbooksissuedfrom the Press* 
aj^NEWS FROM NOWHERE: OR, 
AN EPOCH OF REST, BEING SOME 
CHAPTERS FROM A UTOPIAN RO. 
MANGE, BY WILLIAM MORRIS. 8vo* 
Golden type* In black and red* Borders 9a and 4, 
and a woodcut engraved by W* H* Hooper from 
a design by C* M* Gere* 300 on paper at two 
guineas, 10 on vellum at ten guineas* Dated Nov* 
22, 1892, issued March 24, 1893* Sold by Reeves 
& Turner* Bound in limp vellum* 
J& The text of this book was printed before 
Shakespeare's Poems & Sonnets, but it was kept 
back for the frontispiece, which is a picture of 
the old manor-house in the village of Kelmscott 
by the upper Thames, from which the Press took 
its name* It was set up from a copy of one of Reeves 
& Turner's editions* and in readingitforthe press 
the author made a few slight corrections* It was 
the last book except the Savonarola (No. 31) in 

29 



m 



which he used the old paragraph mark C, which 
was discarded in favour of the leaves, which had 
alreadybeen usedinthetwolarge4tobooks prints 
ed in the Troy type* 

13-THE ORDER OF CHIVALRY. Trans, 
lated from the French by William Caxtonandre, 
printed from his edition of 1484* Edited by F* S* 
Ellis. And L'ORDBNE DE CHEVALE- 
RIE, WITH TRANSLATION BYWIL. 
LIAM MORRIS. Small 4to* Chaucer type, 
in black and red* Borders 9a and 4, and a wood' 
cut designed by Sir Edward Burne'Jones* 22,5 on 
paper at thirty shillings, 10 on vellum at ten gui^ 
neas* The Oraer of Chivalry dated Nov* 10, 1892, 
L'Ordene de Chevalerie dated February 24, 1893, 
issued April 12, 1893* Sold by Reeves & Turner* 
Bound in limp vellum* 

{ jgp This was the last book printed in small 4to* 
The last section is in 8vo* It was the first book 
printed in Chaucer type* The reprint from Cax^ 
ton was finished while News from Nowhere was 
in the press* and before Shakespeare's Poems and 
Sonnets was begun* The French poem and its 
translation were added as an afterthought* and 
have a separate colophon* Some of the three^line^ 
initials* which were designed forThe Well at the 
World's End, are used in the French poem, and 
this is their first appearance* The translation was 
begun on Dec* 3, 1892, and the border round the 
frontispiece was designed on Feb* 13, 1893* 
30 



m 



14-THE LIFE OF THOMAS WOLSE Y, 
CARDINAL ARCHBISHOP OF YORK 
^WRITTEN BY GEORGE CAVEN. 
DISH. Edited by R S* Ellis from the author's 
autograph MS* 8vo* Golden type* Border t* 250 
on paper at two guineas* 6 on vellum at ten gnu 
neas* Dated March 30, issued May 3, 1893* Sold 
by Reeves & Turner* Bound in limp vellum* 
15-THE HISTORY OF GODEFREY OF 
BOLOYNE AND OF THE CONQUEST 
OF IHERUSALEM. Reprinted from Cax^ 
ton's edition of 1481* Edited by H* Halliday 
Sparling* Large 4to*Troy type* with listofchap^ 
ter headings & glossary in Chaucer type* In black 
and red* Borders 5a & 5, and woodcut title* 300 on 
paper at six guineas* 6 on vellum at 20 guineas* 
Dated April 27, issued May 24* 1893* Published 
byWilliamMorrisattheKelmscottPress*Bound 
in limp vellum* 

^0 This was the fifth and last of the Caxton re^ 
prints* with many new ornaments and initials, & 
a new printer's mark* It was first announced as in 
the press in the list dated Dec** 1892* It was the 
first book published and sold at the Kelmscott 
Press* An announcement and order form* with 
two different specimen pages, was printed at the 
Press,besides a special invoice* A few copies were 
bound in half holland, not for sale* 

i6*UTOPIA^WRITTEN BYSIRTHO* 
MAS MORE. A reprint of the 2nd edition of 

3i 



1 



Ralph Robinson's translation, with a foreword 
by William Morris. Edited by F* S* Ellis* 8vo* 
CZhaucer type, with the reprinted title in Troy 
type* In black & red* Borders 4 and 2* 300 on pa^ 
per at thirty shillings* 8 on vellum at ten guineas* 
Dated August 4* issued September 8* 1893* Sold 
by Reeves & Turner* Bound in limp vellum* 
j2? This book was first announced as in the press 
in the list dated May 20, 1893* 
17- MAUD, A MONODRAMA* BY AL, 
FRED LORD TENNYSON. 8vo* Golden 
type* In black and red* Borders 10a and 10, and 
woodcut title* 500 on paper at two guineas* 5 on 
vellum not for isale* Dated Aug* n, issued Sept* 
30, 1893* Published by Macmillan & Co* Bound 
in limp vellum* 

J& The borders were specially designed for this 
book* They were both used again in the Keats, 
and one of them appears in The Sundering Flood* 
It is the first of the 8vo books with a woodcut title* 
i8*GOTHIC ARCHITECTURE: A LEG, 
TURE FOR THE ARTS AND CRAFTS 
EXHIBITION SOCIETY^ BY WIL. 
LI AM MORRIS, i6mo* Golden type* In black 
and red* 1500 on paper at two shillings and six/> 
pence, 45 on vellum at ten and fifteen shillings* 
Bound in half holland* 

j2?This lecture was set up at Hammersmith and 
printed at the New Gallery during the Arts and 
Crafts Exhibition in October & November* 1893* 
32 



■ 



The first copies were ready on October 21, & the 
book was twice reprinted before the Exhibition 
closed* It was the first book printed in i6mo* The 
foinvline initials used in it appear here forthe first 
time*The vellum copies were sold during the Ex^ 
hibition at ten shillings, and the price was subset 
quently raised to fifteen shillings. 

19-SIDONIATHE SORCERESS J0 BY 
WILLIAM MEINHOLD TRANSLATE 
ED BY FRANCESCA SPERANZA LA. 
D Y WI LDE. Large 4*0* Golden type* In black 
&red* Border 8* 300 paper copies at four guineas, 
10 on vellum at twenty guineas* Dated Sept* 15, 
issued November 1, 1893* Published by William 
Morris* Bound in limp vellum* 
Jp Before the publication of thisbook a large4to 
announcement and order form was issued, with 
a specimen page and an interesting description of 
the book and its author* written & signed by Wik 
liam Morris* Some copies were bound in half hoi/ 
land, not for sale* 

20* BALLADS AND NARRATIVE PO- 
EMS BYDANTEGABRIELROSSETTL 
8vo* Golden type* In black & red* Borders 4a & 4, 
and woodcut title* 310 on paper at two guineas, 6 
on vellum at ten guineas* Dated Oct* 14* issued 
in November, 1893 ♦ Published by Ellis &Elvey* 
Bound in limp vellum* 

J& This book was announced as in preparation 
in the list of August 1, 1893* 

d 33 



* 



2i*THE TALE OF KING FLORUS AND 
THE FAIR JEHANE. Translated by Wik 
Ham Morris from the French of the 13th century* 
x6mo* Chaucer type* In black and red* Borders 
ita and u,and woodcut title* 3£oon paper at seven 
shillings and sixpence* 15 on vellum at thirty shiV 
lings* Dated Dec* t6, issued Dec* 28, 1893* Pub' 
lished by William Morris* Boundinhalf holland* 
jS^This story* like the three other translations 
with which it is uniform* was taken from a little 
volume called Nouvelles Francoises en prose du 
XI He siecle* Paris* Jannet* 1856* They were first 
announced as in preparation under the heading 
i French Tales f in the list dated May 20* 1893* 
Eightyfive copies of King Florus were bought 
by J* and M* L*Tregaskis* who had them bound 
in all parts of the world* These are now in the 
Ry lands Library at Manchester* 
22.^^THE STORY OF THE GUT, 
TERING PLAIN WHICH HAS BEEN 
ALSO CALLED THE LAND OF LIV, 
ING MEN OR THE ACRE OF THE 
UNDYING* WRITTEN BY WILLIAM 
MORRIS. Large 4to* Troy type* with list of 
chapters in Chaucer type* In black and red* Bor^ 
ders 12a and 12, 23 designs by Walter Crane, en^ 
graved by A* Leverett* and a woodcut title* 250 
on paper at five guineas* 7 on vellum at twenty 
pounds* Dated Jan* 13, issued Feb. 17* 1894* Pub^ 
lished by William Morris* Bound in limp vellum* 
34 



— 



j£f Neither the borders in thisbooknorsixoutof 
the seven frames round the illustrations appear in 
any other book* The seventh is used roundjthe 
second picture in Love is Enough* A few copies 
were bound in half holland* 
23* OF THE FRIENDSHIP OF AMIS 
AND AMILE, Done out of the ancient French 
by William Morris* i6mo* Chaucertype* Inblack 
and red* Borders tia and it* and woodcut title* 500 
on paper at seven shillings & sixpence* 15 on vel^ 
lum at thirty shillings* Dated March 13, issued 
April 4, 1894* Published by William Morris* 
Bound in half holland* 

JS? A poem entitled Amys & Amillion* founded 
on this story* was originally to have appeared in 
the second volume of the Earthly Paradise* but, 
like some other poems announced at the same 
time, it was not included in the book* 

2oa*SONNETSANDLYRICALPOEMS 
BY DANTE GABRIEL ROSSETTI* 8vo* 
Golden type* In black and red* Borders la and 1, 
and woodcut title* 310 on paper at two guineas* 6 
on vellum at ten guineas* Dated Feb* 20* issued 
April2i*i894*PublishedbyEllis&EIvey*Bound 
in limp vellum* 

j2?This book is uniform with No* 20, to which 
it forms a sequel* Both volumes were read for the 
press by Mr* W* M* Rossetti* 
24* THE POEMS OF JOHN KEATS. 
Edited by F* S* Ellis* 8vo* Golden type* In black 
<*2 35 



Jm 



and red* Borders toa and 10, and woodcut title* 
300 on paper at thirty shillings, 7 on vellum at 
nine guineas* Dated March 7, issued May 8, 
1894* Published by William Morris* Bound in 
limp vellum* 

J^This is now (Jan*, 1898) the most sought after 
of all the smaller Kelmscott Press books* It was 
announced as in preparation in the lists of May 
27 and August t* 1893* and as in the press in that 
of March 31* 1894, when the woodcut title still re 
mained to be printed* 

25-ATALANTA IN CALYDON: ATRA, 
GEDY, BY ALGERNON CHARLES 
SWINBURNE. Large 4to. Trov type, with 
argument & dramatis personam in Chaucer type; 
the dedication and quotation from Euripides in 
Greektypedesigned by Selwyn Image* Inblack& 
red* Borders 5a and 5* and woodcut title* 250 on pa^ 
per at two guineas* 8 on vellum at twelve guineas* 
Dated May 4, issued July 24, 1894* Published by 
William Morris* Bound in limp vellum* 
J0 Inthevellum copiesof this book the colophon 
is not on the 82nd page as in the paper copies* but 
on the following page* 

26*^c^THE TALE OF THE EMPER. 
OR COUSTANS AND OF OVER SEA. 
Done out of ancient French by William Morris* 
l6mo* Chaucer type* In blackandred* Borders na 
& It, both twice* & two woodcut titles* 525 on pa-* 
per at seven shillings & sixpence* 20 on vellum at 
36 



two guineas* Dated August 30, issued Sept* 26, 
1894* Published by William Morris* Bound in 
halfholland* 

J^The first of these stories, which was the source 
of The Man born to be King* in The Earthly 
Paradise* was announced as in preparation in the 
list of March 31, 1894* 

27THE WOOD BEYONDTHE WORLD* 
BYWILLIAMMORRIS.8vo*Chaucertype* 
In black and red* Borders 13a and 13* and a frontis^ 
piece designed by Sir E ♦ Burne-Jones, & engraved 
on wood by W* Spielmeyer* 350 on paper at two 
guineas, 8 on vellum at ten guineas* Dated May 
30, issued Oct. 16, 1894* Published by William 
Morris. Bound in limp vellum* 
jtfFThe borders in this book, as well as the ten 
halkborders, are here used for the firsttime* It was 
first announced as in the press in the list of March 
31, 1894* Another edition was published by Law^ 
rence and Bullen in 1895* 
28* THE BOOK OF WISDOM AND 
LIES, Abookof traditional stories from Georgia 
in Asia* Translated by Oliver Wardrop from the 
original ofSulkhan^SabaOrbeliani* 8vo* Golden 
type* I n black and red* Borders 4a & 4, & woodcut 
title* 250 on pap er at two guineas, none on vellum * 
Finished Sept* 29, issued Oct* 29, 1894* Published 
by Bernard Quaritch* Bound in limp vellum* 
jS^The arms of Georgia, consisting of the Holy 
Coat, appear in the woodcut title of this book* 

37 



-m— ,:■ 



29. THE POETICAL WORKS OF PER, 
CY BYSSHE SHELLEYj^VOLUME L 

Edited by F* S* Ellis* 8vo* Golden type. Borders 
la and i, & woodcut title* 250 on paper at twenty 
five shillings, 6 on vellum at eight guineas* Not 
dated, issued Nov* 29, 1894* Published by Wil/ 
liam Morris* Bound in limp vellum without ties* 
j£f Red ink is not usedin this volume, thoughitis 
used in the second volume, and more sparingly in 
the third* Some of the halkborders designed for 
The Wood beyond the World reappear before the 
longer poems* The Shelley was first announced 
as in the press in the list of March 31, X894* 
30* PSALMI PENITENTIALES* An 
English rhymed version of the Seven Penitential 
Psalms* Edited by F* S* Ellis* 8vo* Chaucer type* 
In black and red* 300 on paper at seven shillings 
& sixpence, 12 on vellum at three guineas* Dated 
Nov* 15, issued Dec* 10, 1894* Published by WiL- 
liam Morris* Bound in half holland* 
J& These verses were taken from a manuscript 
Book of Hours written at Gloucester in the first 
half of the fifteenth century* but the Rev* Profes/ 
sor Skeat has pointed out that the scribe must 
have copied them from an older manuscript, as 
they are in the Kentish dialect of about a century 
earlier* The half-border on p* 34 appears for the 
first time in this book* 

31-EPISTOLA DE CONTEMPTUMUN. 
DI DI FRATE HIERONYMO DA FER, 
38 



RARA DELLORDINE DE FRATI PRE, 
DICATORI LA QUALE MANDA AD 
ELENA BUONACCORSI SUA M ADRE, 
PER CONSOLARLA DELLA MORTE 
DEL FRATELLO, SUO ZIO. Edited by 
Charles Fairfax Murray from the original auto, 
graph letter* 8vo* Chaucer type* In black and red* 
Border t/Wbodcut on title designed by C*F* Mur, 
ray & engraved by W# H* Hooper* 150 on paper, 
and 6 on vellum* Dated Nov* 30* ready Dec* iz f 
1804* Bound in half holland* 
jffThis little book was printed for Mr* C* Fairx 
fax Murray* the owner of the manuscript* & was 
not for sale in the ordinary way* The colophon is 
in Italian* and the printer's mark is in red* 
32* THE TALE OF BEOWULF* Done out 
of the Old English tongue by William Morris 
and A* J* Wyatt* Large 4to* 1 roy type, with ar^ 
gument, side/notes*listof persons and places* and 
glossary in Chaucer type* In black and red* Bor/ 
ders 14a and 14* and woodcut title* 300 on paper 
at two guineas* 8 on vellum at ten pounds* Dated 
Jan* 10* issued Feb* 2* 1895* Published by William 
Morris* Bound in limp vellum* 
jJ^The borders in this book were only used once 
again* in the Jason* A Note to the Reader printed 
on a slip in the Golden type was inserted in each 
copy* Beowulf was first announced as in prepara^ 
tion in the list of May 20* 1893* The verse trans' 
lation was begun by Mr* Morris* with the aid of 

39 



Mr* Wyatt's careful paraphrase of the text, on 
Feb* 21, 1893, and finished on April 10, 1894, but 
the argument was not written by Mr* Morris until 
Dec* to, 1894* 

33* SYR PERECYVELLE OF GALES. 
Overseen by F* S* Ellis, after the edition edited 
by J* O* H alii well from the Thornton MS* in 
the Library of Lincoln Cathedral* 8vo* Chaucer 
type* In black and red* Borders 13a and 13, and a 
woodcut designed by Sir E* Burne^Jones* 350 on 
paper at fifteen shillings, 8 on vellum at four gui-* 
neas* Dated Feb* 16, issued May 2,1895* Published 
by William Morris* Bound in limp vellum* 
jg^This is the first of the series to which Sire 
Degrevaunt&Syr Isumbrace belong* They were 
all reprinted from the Camden Society's volume 
of 1844, which was a favourite with Mr* Morris 
from his Oxford days* Syr Perecyvelle was first 
announced in the list of Dec* 1, 1894/rhe shoulder^ 
notes were added by Mr* Morris* 

34-THELIFEANDDEATHOFJASON, 
A POE M* BY WILLI AM MORRIS* Large 
4to*Troy type, with a few words in Chaucer type* 
Inblack&red* Borders 14a and 14, and two wood' 
cuts designed by Sir E* Burne/Jones & engraved 
on wood by W* Spielmeyer* 200 on paper at five 
guineas, 6 on vellum at twenty guineas* Dated 
May 25, issued July 5, 1895* Published by Wih 
liam Morris* Bound in limp vellum* 
j& This book, announced as in the press in the 
40 



m 



jtV--.- 1 ...'" 



list of April 21, 1894* proceeded slowly, as several 
other books, notably the Chaucer, were being 
printed at the same time/Thetext, which had been 
corrected for the second edition of 1868, and for the 
edition of 1882, was again revised by the author* 
The line^fillings on the last page were cut on metal 
for this book, and cast like type* 
2 9 aJHE POETICAL WORKS OF PER. 
CY BYSSHE SHELLEY ^VOLUME 
II. Edited by F* S* Ellis* 8vo* Golden type* In 
black & red* 250 on paper at twenty. five shillings, 
6 on vellum at eight guineas. Not dated, issued 
March 25, 1895* Published by William Morris* 
Bound in limp vellum without ties* 

35*CHILD CHRISTOPHER AND GOL. 
DILIND THE FAIR* BY WILLIAM 
MORRIS. 2 vols* i6mo* Chaucer type* In black 
and red* Borders 15a & 15, and woodcut title* 600 
on paper at fifteen shillings, 12 on vellum at four 
guineas* Dated July 25, issued Sept* 25, 1895* Pub' 
lishedbyWilliamMorris*Bound in half holland, 
with labels printed in the Golden type* 
jgjpThe borders designed for this book were only 
used once again, in Hand and Soul* The plot of 
the story was suggested by that of Havelok the 
Dane, printedby the Early EnglishText Society* 
2 9 b*THE POETICAL WORKS OF PER^ 
CY BYSSHE SHELLEY j» VOLUME" 
III- Edited by R S* Ellis. 8vo* Golden type* In 
black & red* 250 on paper at twentyfive shillings* 

41 



6 on vellum at eight guineas* Dated August zi, 
issued October 28, 1895* Published by w illiam 
Morris* Bound in limp vellum without ties* 
36* HAND AND SOUL* BY DANTE 
GABRIEL ROSSETTL Reprinted fromThe 
Germ for Messrs* Way & Williams, of Chicago* 
l6mo* Golden type* In black and red* Borders 15a 
and 15* and woodcut title* 300 paper copies and u 
vellum copies for America* 225 paper copies for 
sale in England at ten shillings* and 10 on vellum 
at thirty shillings* Dated Oct* 24* issued Dec* 12, 
1895* Bound in stiff vellum without ties* 
J& This was the only i6mo book bound in vth 
lum* The English and American copies have a 
slightly different colophon* The shoulder^notes 
were added by Mr* Morris* 
37-^POEMS CHOSEN OUT OF THE 
WORKSOFROBERTHERRICK* Edited 
by F* S* Ellis* 8vo* Golden type* In black & red* 
Borders 4a and 4*andwoodcuttitle*250onpaper 
at thirty shillings* 8 on vellum at eight guineas* 
Dated Nov* 21* 1895* issued Feb* 6* 1896* Pub, 
lished by William Mor ri s * Bound in limp vellum * 
j0 This book was first announced as in prepara, 
tion in the list of Dec* 1, 1894, and as in the press 
in that of July i f 1895* 

38. POEMS CHOSEN OUT OF THE 
WORKS OF SAMUEL TAYLOR COLE, 
RIDGE- EditedbyRS* Ellis* 8vo* Golden type* 
Inblack and red* Borders 13a and 13* 300 on paper 
42 



at a guinea, 8 on vellum at five guineas* Dated 
Feb* 5, issued April 12, 1896* Published by Wil» 
liam Morris* Bound in limp vellum* 
j^Thisbookcontainsthirteenpoems*Itwas first 
announced as in preparation in the list of Dec* 1, 
1894, & as in the press in that of N ov* 26, 1895* It is 
the last of the series to which Tennyson's Maud, 
and the poems of Rossetti* Keats* Shelley, and 
Herrick belong* 

39- THE WELL AT THE WORLD'S 
ENDjff BY WILLIAM MORRIS* Large 
4to* Double columns* Chaucer type* Inblackand 
red* Borders 16a* 16, 17a, 17* 18a, 18* 19a and 19, and 
4 woodcuts designed by Sir E* Burne^Jones* 350 
on paper at five guineas* 8 on vellum at twenty 
guineas* Dated March 2, issued June 4* 1896* Sold 
by William Morris* Bound in limp vellum* 
jBFThis book* delayed for various reasons* was 
Ion ger on hand than any other* It appears in no less 
than twelve lists* from that of Dec** 1892. to that of 
Nov* 26, 1895* as 'in the press/ Trial pages* in^ 
eluding one in a single column* were ready as early 
as September, 1892* & the printing began on Dec* 
i6 of that year* The edition of The Well at the 
World's End published by Longmans was then 
being printed from the author's manuscript at the 
Chiswick Press, and the Kelmscott Press edition 
was set up from the sheets of that edition* which* 
though not issued until October, 1896, was finished 
in 1894* The eight borders and the six different 

43 



ornaments between the columns, appear here for 
the first time, but are used again in The Water of 
the Wondrous Isles, with the exception of two 
borders* 

40. THE WORKS OF GEOFFREY 
CHAUCER, Edited by R S* Ellis. Folio. 
Chaucer type, with headings to the longer poems 
in Troy type* In black and red* Borders 20a to 
26, woodcut title, & 87 woodcut illustrations de^ 
signed by Sir E* Burne/Jones* 425 on paper at 
twenty pounds, 13 on vellum at 120 guineas* Dated 
May 8, issued June 26, 1896* Published by Wik 
liam Morris* Bound in half holland* 
jj^The history of this book, which is by far the 
most important achievement of the Kelmscott 
Press, is as follows* As far back as June n, 1891, 
Mr* Morris spoke of printing a Chaucer with a 
black-letter fount which he hoped to design* Four 
months later, when most of theTroy type was dev 
signed and cut, he expressed his intention to use 
it first on John Ball, and then on a Chaucer and 
perhaps a Gesta Romanorum* By January %, 1892, 
theTroy type was delivered,&earlyin that month 
two trial pages, one from The Cook'sTale & one 
from Sir Thopas, the latter in double columns, 
were got out* It then became evident that the type 
was too large for a Chaucer, and Mr* Morris de^ 
cided to have it re/cut in the size known as pica* 
By the end of June he was thus in possession of 
thetype which in thelist issued in December, 1892, 
44 



he named the Chaucer type* In July, 1892, another 
trial page, a passage from The Knight's Tale in 
double columns of 58 lines, was got out,& found to 
be satisfactory*The idea of the Chaucer as it now 
exists, with illustrations by Sir Edward Burne/ 
Jones, then took definite shape* 
Inaproofofthefirstlist, dated April, 1892, there is 
an announcement of the book as in preparation, in 
black-letter, large quarto, but this was struck out, 
and does not appear in the list as printed in May, 
nor yet in the July list* In that for Dec*, 1892, it is 
announced for the first time as to be in Chaucer 
type 'with about sixty designs by E *Burne^Jones/ 
The next list,dated March 9,i893*states that it will 
be a folio and that it is in the press, by which was 
meant that a few pages were in type* In the list 
dated Aug* i f 1893, the probable price is given as 
twenty poundsThe next four lists contain no fresh 
information, but on Aug* 17, 1894, nine days after 
the first sheet was printed, a notice was sent to the 
trade that there would be 325 copies at twenty 
pounds & about sixty woodcuts designed by Sir 
Edward Burne^Jones* Three months later it was 
decided to increase the number of illustrations to 
upwards of seventy, & to print another 100 copies 
of the book* A circular letter was sent to subscribe 
ers on Nov* 14, stating this & giving them an op." 
portunity of cancelling their orders* Orders were 
not withdrawn, the extra copies were immediately 
taken up, and the list for Dec* 1, 1894, which is the 

45 



first containing full particulars, announces that all 

Saper copies are sold* 
/lr* Morris began designing his first folio border 
on Feb* t, 1893. but was dissatisfied with the design 
and did not finish it* Three days later he began the 
vine border for the first page,& finished it in about 
a week, together with the initial word ' Whan/ 
the two lines of heading* & the frame for the first 
picture* and Mr. Hooper engraved the whole of 
these on one block* The first picture was engraved 
ataboutthesametime* A specimen ofthefirstpage 
(differing slightly from the same page as it appears 
in the book) was shown at the Arts and Crafts 
Exhibition in October and November* 1893* and 
was issued to a few leading booksellers* but itwas 
not until August 8* 1894* that the first sheet was 
printed at 14* Upper Mall* On Jan* 8* 1895* an<* 
other press was started at 2i,Upper Mall.&from 
that time two presses were almost exclusively at 
work on the Chaucer* By Sept* 10 the last page 
of The Romaunt of the Rose was printed* In the 
middle of Feb* 1896* Mr* Morris began designing 
the title* It was finished on the 27th of the same 
month and engraved by Mr* Hooper in March* 
OnMay8,ayearandninemonthsaftertheprint/ 
ing of the first sheet* the book was completed* On 
June 2, the first two copies were delivered to Sir 
Edward Burnejones and Mr, Morris* Mr* Mor^ 
ris's copy is now at Exeter College, Oxford, with 
other books printed at the Kelmscott Press* 

46 



Besides the eightyvseven illustrations designed by 
Sir Edward Burne^Jones, and engraved by W. 
H * H ooper, the Chaucer contains a woodcut title, 
fourteen large borders, eighteen different frames 
round the illustrations, & twentyvsix large initial 
words designed for the book by w illiam Morris* 
Many of these were engraved by C* E* Keates, & 
others by W* H* Hooper and W* Spielmeyer* 
In Feb*, 1896, a notice was issued respecting special 
bindings, of which Mr* Morris intended to de^ 
sign founTwo of these were to have been executed 
under Mr* Cobden^Sanderson's direction at the 
Doves Bindery,& two by Messrs J* &J* Leighton* 
But the only design that he was able to complete 
was for a full white pigskin binding, which has 
now been carried out at the Doves Bindery on 
forty^eight copies, including two on vellum* 
41. THE EARTHLY PARADISE. BY 
WILLIAM MORRIS. VOLUME Lj^ 
PROLOGUE:THE WANDERERS.jflF 
MARCH: ATALANTA'S RACE. THE 
MAN BORN TO BE KING. A * Medium 
4to. Golden type* In black and red* Borders 27a, 
27, 28a, and 28, and woodcut title* 225 on paper 
at thirty shillings, 6 on vellum at seven guineas* 
Dated May 7, issued July 24, 1896* Published by 
William Morris* Bound in limp vellum* 
jgFThis was the first book printed on the paper 
with the apple watermark* The seven other vol' 
umes followed it at intervals of a few months* 

47 



None of the ten borders used fn the Earthly Pa^ 
radise appear in any other book*The four different 
halkborders round the poems to the months are 
also not used elsewhere* The first border was de^ 
signed in June, 1895* 

42* LAUDES BE ATAE M ARIAE VIR. 
GIN IS* Latin poems taken from a Psalter writ' 
ten in England about A*D* 1220* Edited by S* C* 
Cockerell* Large 4to*Troy type* In black, red, & 
blue* 250 on paper at ten shillings, 10 on vellum 
at two guineas* Dated July 7, issued August 7, 
1896* Published by William Morris* Bound in half 
holland* 

J& This was the first book printed at the KelmS' 
cott Press in three colours* The manuscript from 
which the poems were taken was one of the most 
beautiful of the English books in Mr* Morris's 
possession, both as regards writingand ornament* 
No author's name is given to the poems, but after 
this book was issued the Rev* E* S* Dewick point* 
ed out that they had already been printed atTe^ 
gernsee in 1579, in a x6mo volume in which they 
are ascribed to Stephen Langton* A note to this 
effect was printed in the Chaucer type in Dec* 28, 
1896, and distributed to the subscribers* 
4 ia*THE EARTHLY PARADISE*BY 
WILLIAM MORRIS-VOLUME UJPJP 
APRIL: THE DOOM OF KING ACRL 
SIUS*THE PROUD KING. Medium 4 to* 
Golden type* In black and red* Borders 29a, 29, 
48 



sc 



28a, and 28* 225 on paper at thirty shillings, 6 on 
vellum at seven guineas* Dated June 24, issued 
Sept* 17, 1896* Published by William Morris* 
Bound in limp vellum* 

43-THE FLOURE AND THE LEAFE, 
& THE BOKE OF CUPIDE, GOD OF 
LOVE, OR THE CUCKOW AND THE 
NIGHTINGALE* Edited by F*S* Ellis* Me. 
dium 4to* Troy type, with note and colophon in 
Chaucer type* In black and red* 300 on paper at 
ten shillings* 10 on vellum at two guineas* Dated 
Aug* 21* issued Nov* 2* 1896* Published at the 
Kelmscott Press* Bound in half holland* 
jff Two of the initial words from the Chaucer are 
used in this book* one at the beginning of each 
poem* These poems were formerly attributed to 
Chaucer* but recent scholarship has proved that 
The Floure & the Leafe is much later than Chau^ 
cer* and thatThe Cuckow&the Nightingale was 
written by Sir Thomas Clanvowe about A*D* 
1405^10* 

44-d^d^THE SHEPHEARDES CA, 
LENDER: CONTEYNING TWELVE 
^EGLOGUES, PROPORTIONABLE 
TO THE TWELVE MONETHES* By 
Edmund Spenser* Editedby F*S*Ellis* Medium 
4to* Golden type* In black & redWith twelve fulk 
page illustrations by A* J* Gaskin* 225 on paper 
at a guinea, 6 on vellum at three guineas* Dated 
Oct* 14, issued Nov* 26, 1896* Published at the 
e 49 



— ' 



Kelmscott Press. Bound in half holland. 
j£? The illustrations in this hook were printed 
from process blocks by Walker & Boutall. By an 
oversight the names of author, editor, and artist 
were omitted from the colophon. 

4 ib.THE EARTHLY PARADISE.BY 
WILLIAM MORRIS. VOLUME III.jp 
MAY:THE STORY OF CUPID AND 
PSYCHE.THE WRITING ON THE 
IMAGE. j£FJUNE:THE LOVE OF AL, 
CESTIS. THE LADY OF THE LAND. 
Medium 4to. Golden type. In black & red. Bor^ 
ders 30a, 30, 27a, 27, 28a, 28, 2aa,& 29. 225 on pa^ 
per at thirty shillings,6 on vellum at seven guineas. 
Dated Aug. 24, issued Dec. 5, 1896. Published at 
the Kelmscott Press. Bound in limp vellum. 
4tcTHE EARTHLY PARADISE.BY 
WILLIAM MORRIS. VOLUME IV.^ 
JULY:THE SON OF CRCESUS.THE 
WATCHING OF THE FALCON.^ 
AUGUST: PYGMALION AND THE 
IMAGE. OGIERTHE DANE. Medium 
4to. Golden type. In black and red. Borders 31a, 
31, 29a, 29, 28a, 28, 30a, 8c 30. Dated Nov. 25, 1896, 
issued Jan. 22, 1897. Published at the Kelmscott 
Press. Bound in limp vellum. 
4td.THE EARTHLY PARADISE.BY 
WILLIAM MORRIS.VOLUME V.j@ 
SEPTEMBER:THE DEATH OFPARIS. 
THE LAND EASTOFTHE SUN AND 
50 



WESTOFTHE MOON.^OCTOBER: 
THE STORY OF ACONTIUS AND 
CYDIPPE.THE MAN WHO NEVER 
LAUGHED AGAIN. Medium 4to. Golden 
type. In black and red. Borders 29a, 29, 27a, 27, 
28a, 28, 31a, and 31. Finished Dec. 24, 1896, issued 
Mar, 9, 1897. Published at the Kelmscott Press. 
Bound in limp vellum. 

4ie.THE EARTHLY PARADISE. BY 
WILLIAM MORRIS. VOLUME VI.j^ 
NOVEMBER: THE STORY OF RHO/ 
DOPE. THE LOVERS OF GUDRUN. 
Medium 4to. Golden type. In black and red. Borx 
ders 27a, 27, 30a, and 30. Finished Feb. 18, issued 
May 11,1897. Published at the Kelmscott Press. 
Bound in limp vellum. 

4 if.THE EARTHLY PARADISE. BY 
WILLIAM MORRIS. VOLUME VII.j^ 
DECEMBER:THE GOLDEN APPLES 
THE FOSTERING OF ASLAUG.^ 
JANUARYtBELLEROPHON AT AR, 
GOS.THE RING GIVEN TO VENUS. 
Medium 4to. Goldentype. In black and red. Bor^ 
ders 29a, 29, 31a, 31, 30a, 30, 27a, and 27. Finished 
March 17, issued July 29, 1897. Published at the 
Kelmscott Press. Bound in limp vellum. 

45.THEWATEROFTHE WONDROUS 
ISLESBYWILLIAMMORRIS.Large 4 to. 
Chaucer type, in double columns, with a few lines 
inTroy type at the end of each of the seven parts. 
C2 51 



In black &red* Borders i6a,i7a,i8a,i9,& 19a* 250 
on paper at three guineas, 6 on vellum at twelve 
guineas* Dated April t, issued July 29, 1897* Pub' 
lished at the Kelmscott Press* Bound in limp vcV 
lum* 

JSf Unlike The Well at the World's End, with 
which it is mainly uniform, this book has red 
shoulder^notes and no illustrations* Mr* Morris 
began the story in verse on Feb* 4, 1895* A few 
days later he began it afresh in alternate prose and 
verse ; but he was again dissatisfied, and finally be^ 
gan it a third time in prose alone, as it nowstands* 
It was first announced as in the press in the list of 
June 1, 1896, at which date the early chapters were 
in type,although they were not printed until about 
a month later* The designs for the initial words 
* Whilom' and ' Empty' were begun by William 
Morris shortly before his death, and were finish^ 
ed by R* Catterson^Smith* Another edition was 
published by Longmans on Oct* 1, 1897* 
4 tg-THE EARTHLY PARADISE* BY 
WILLIAM MORRIS-VOLUME VIILj^ 
FEBRUARY: BELLEROPHON IN LY, 
CIA.THEHILLOFVENUS.j|FEPI, 
LOGUE* L'ENVOI. Medium 4 to* Golden 
type* In black and ted* Borders 28a, 28, 29a, & 29* 
Finished June 10, issued Sept* 27,1897* Published 
at the Kelmscott Press* Bound in limp vellum* 
J& The colophon of this final volume of The 
Earthly Paradise contains the following note: 

5 2 



' The borders in this edition of The Earthly Para** 
dise were designed by William Morris, except 
those on page 4 of volumes iu f Hi., and iv*, afters 
wards repeated, which were designed to match the 
opposite borders, under William Morris's direct 
tion, by R* Catterson^ Smith; who also finished 
theinitial words' Whilom' and 'Empty' forThe 
Water of the Wondrous Isles* All the other let' 
ters, borders, title-pages and ornaments used at 
the Kelmscott Press, except the Greek type in 
Atalanta in Calydon, were designed by William 
Morris/ 

46.TWO TRIAL PAGES OF THE PRO- 
JECTED EDITION OF LORD BER- 
NE RS' TRANSLATION OF FROIS- 
SART'S CHRONICLES. Folio. Chaucer 
type, with heading in Troy type* In black & red- 
Border 32, containing the shields of France, the 
Empire, and England, & a half'border contain- 
ing those of Reginald Lord Cobham, Sir John 
Chandos, and Sir Walter Manny* 160 on vellum 
at a guinea, none on paper* Dated September, is- 
sued October 7, 1897* Publishedatthe Kelmscott 
Press* Not bound* 

J$?lt was the intention of Mr* Morris to make 
this edition of what was since his college days al- 
most his favourite book, a worthy companion to 
the Chaucer* It was to have been in two volumes 
folio, with new cusped initials and heraldic orna- 
ment throughout* Each volume was to have hada 

53 



large frontispiece designed by Sir E * Burne/Jones ; 
the subject of the first was to have been St.George, 
that of the second, Fame* A trial page was set up in 
theTroy type soon after it came from the foundry, 
in Jan** 1892, Early in 1893 trial pages were set up 
in the Chaucer type, and in the list for March 9 of 
that year the book is erroneously stated to be in the 
press* In the three followinglists it is announced as 
in preparation* In the list dated Dec* I,i893,&in the 
three next lists,it is again announced as in the press, 
& the number to be printed is given as 150* Mean" 
while the printing of the Chaucer had been begun, 
&as it was not feasible to carry on two folios at the 
same time, the Froissart again comes under the 
heading 'in preparation' in the lists from Dec* 1, 
i894*toJunei,i896*IntheprospectusoftheShep^ 
heardes Calender, dated Nov* 12, 1896, it is an / 
nouncedas abandoned* At thattime about thirty • 
four pages were in type, but no sheet had been 
printed. Before the type was broken up, on Dec* 
24, 1896, 32 copies of sixteen of these pages were 
printed & given as a memento to personal friends 
of the poet and printer whose death now made 
the completion of the book impossible*This sug^ 
gested the idea of printing two pages for wider dis/ 
tribution* The half^border had been engraved in 
April, 1894, by W*Spielmeyer, but the large bor^ 
der only existed as a drawing* It was engraved 
with great skill and spirit by C. E* Keates, and 
the two pages were printed by Stephen Mowlem, 
54 



with the help of an apprentice, in a manner wor^ 
thy of the designs* 

47* SIRE DEGREVAUNT, Edited by R S* 
Ellis after the edition printed by J* O* HalliwelL 
8vo* Chaucer type* In black and red* Borders ta& 
1* and a woodcut designed by Sir Edward Burner 
Jones* 350 on paper at fifteen shillings* 8 on vellum 
at four guineas* Dated Mar* 14* 1896* issued Nov* 
12*1897* Published attheKelmscott Press* Bound 
inhalfholland* 

JJ& This book, subjects from which were painted 
by Sir Edward Burne^Jones on the walls of The 
Red House, Upton, Bexley Heath, many years 
ago, was always a favourite with Mr* Morris*The 
frontispiece was not printed until October, 1897, 
eighteen months after the text was finished* 
4 8*SYRYSAMBRACE.EditedbyF*S*Ellis 
after the edition printed by J* O* Halliwell from 
the MS* in the Library of Lincoln Cathedral, with 
some corrections* 8vo* Chaucer type* In black and 
red* Borders 4a and 4, and a woodcut designed by 
Sir Edward Burne^Jones* 350 on paper at twelve 
shillings, 8 on vellum at four guineas* Dated July 
14, issued Nov* 11,1897* Published at the Kelms' 
cott Press* Bound in half holland* 
j$F This is the third and last of the reprints from 
the Camden Society's volume of Thornton Rox 
mances*The text was all set up and partly print/ 
ed by June, 1896, at which time it was intended to 
include 'Sir E glamour' in the same volume* 

55 



49* SOME GERMAN WOODCUTS OF 
THE FIFTEENTH CENTURY Being 
thirtyvfive reproductions from books that were in 
the library of the late William Morris* Edited, 
with a list of the principal woodcut books in that 
library*byS*C*Cockerell*Large4to*Goldentype* 
In red and black* 225 on paper at thirty shillings, 
8 on vellum at five guineas* Dated Dec* 15, 1897, 
issuedjanuary 6,1898* Published atthe Kelmscott 
Press* Bound in half holland* 
J& Of these thirtyvfive reproductions twenty/ 
nine were all that were done of a series chosen by 
Mr* Morris to illustrate a catalogue of his library, 
and the other six were prepared by him for an ar^ 
tide in the 4th number of Bibliographica, part of 
which is reprinted as an introduction to the book* 
The process blocks (with one exception) were 
made by Walker & Boutall, and are of the same 
size as the original cuts* 

50THE STORYOFSIGURDTHE VOL, 
SUNG AND THE FALL OF THE NIB. 
LUNGS J& BY WILLIAM MORRIS* 
Small folio* Chaucer type, with title & headings 
to the four books in Troy type* In black and red* 
Borders 33a & 33* and two illustrations designed 
by Sir Edward Burne^Jones* 160 on paper at six 
guineas, 6 on vellum at twenty guineas* Dated 
January 19, issued February 25, 1898, Published at 
the Kelmscott Press* Bound in limp vellum* 
, $FThe two borders used in this book were al* 

56 



!"■■ " ' .■ — ~ J ' 



most the last that Mr. Morris designed* They 
were intended forati edition of The Hillof Venus, 
which was to have been written in prose by him 
and illustrated by Sir E ♦ Burne-Jones. The foliage 
was suggested by the ornament in two Psalters of 
the last half of the thirteenth century in the library 
at Kelmscott House. The initial A at the begins 
ning of the 3rd book was designed in March, 1893, 
for the Froissart,and does not appear elsewhere* 
jjS^An edition of Sigurd the Volsung, which Mr* 
Morris justly consideredhis masterpiece,was con^ 
templated early in the history of the Kelmscott 
Press. An announcement appears in a proof of 
the first list, dated April, 1892, but it was excluded 
from the list as issued in May. It did not reappear 
until the list of November 26, 1895, in which, the 
Chaucer being near its completion, Sigurd comes 
under the heading 'in preparation/ as a folio in 
Troy type/ with about twenty 'five illustrations by 
Sir E . Burnesjones/ In the list of June 1, 1896, it is 
finally announced as 'in the press/ the number of 
illustrations is increased to forty, and other parx 
ticulars are given. Four borders had then been 
designed for it, two of which were used on pages 
470 & 471 of the Chaucer. The other two have 
not been used, though one of them has been en^ 
graved. Two pages only were in type, thirty/two 
copies of which were struck offon Jan. 11, 1897, & 
given to friends, with the sixteen pages of Froissart 
mentioned above. 

S7 






5 i* THE SUNDERING FLOOD WRIT. 
TEN BY WILLIAM MORRIS. Overseen 

for the press by May Morris* 8vo* Chaucer type* 
In black and red* Border 10* and a map* 300 on pa. 
per at two guineas*, Dated JNov* 15* X097* issued 
Feb* 25, 1898* Published at the Kelmscott Press* 
Bound in half holland* 

J& This was th e last romance by William Morris* 
He began to write it on Dec* 21* 1895, and dictated 
the final words on Sept* 8* 1896* The map pasted 
into the cover was drawn by H* Cribb for Walker 
& Boutall, who prepared the block* In the edition 
that Longmans are about to issue the bands of 
robbers called in the Kelmscott edition Red and 
Black Skinners appear correctly as Red and Black 
Skimmers*The name was probably suggested by 
that of the pirates called 'escumoursof the sea' on 
page 154 of Godefrey of Boloyne* 

52* LOVE ISENOUGH,ORTHE FREE, 
ING OF PHARAMOND: A MORALITY* 
WRITTEN BY WILLIAM MORRIS* 

Large 4to* Troy type* with stage directions in 
Chaucer type* In black* red* and blue* Borders 6a 
and 7* and two illustrations designed by Sir Ed-* 
ward Burne^Jones* 300 on paper at two guineas, 
8 on vellum at ten guineas* Dated Dec* «, 1897* 
issued Mar* 24* 1898* Published at the Kelmscott 
Press* Bound in limp vellum* 
jg? This was the second book printed in three 
colours at the Kelmscott Press* As explained in 

58 



mm 



the colophon, the final picture was not designed 
for this edition of Love is Enough, but for the 
projected edition referred to above, on page 8* 
53 . A NOTE BY WILLIAM MORRIS 
ON HIS AIMS IN FOUNDING THE 
KELMSCOTT PRESS ^TOGETHER 
WITH A SHORT DESCRIPTION OF 
THE PRESS BY S. C COCKERELL, 
& AN ANNOTATED LIST OF THE 
BOOKS PRINTED THEREAT. Octavo. 
Golden type, with five pages in the Troy and 
Chaucer types* In black and red. Borders 4a and 
4, and a woodcut designed by Sir E ♦ Burn e Jones. 
525 on paper at ten shillings, 12, on vellum at two 

fuineas. Dated March 4, issued March 24, 1898. 
Published at the Kelmscott Press. Bound in half 
holland. 

J& The frontispiece to this book was engraved by 
William Morris for the projected edition of The 
Earthly Paradise described on page 7. This block 
and the blocks for the three ornaments on page 9 
are not included among those mentioned on page 
17 as having been sent to the British Museum. 

VARIOUS LISTS,LE AFLETS AND AN. 
NOUNCEMENTS PRINTED AT THE 
KELMSCOTT PRESS. 
Eighteen lists of the books printed or in prepara. 
tion at the Kelmscott Press were issued to book, 
sellers &subscribers.The dates of these are May, 

59 



«>«*««. 



July, & Dec*, 1892; March 9, May 20, May 27, 
Aug* 1, and Dec* 1, 1893 ; March 31, April 21 July 2, 
Oct* 1 (aleaflet) , & Dec* 1, 1894 July l\ & Nov* 26, 
1895 June t, 1896; Feb* 16, and July 28, 1897* The 
three lists for 1892,8c some copies of that for Mar* 9, 
1893* were printed onWhatman paper, the last of 
the stock bought forthefirst edition ofThe Roots 
ofthe Mountains (seep* to)* Besides these,twenty^ 
nineannouncements,relatingmainlytoindividu' 
al books, were issued; & eight leaflets, containing 
extracts from the lists, were printed for distribu^ 
tion by Messrs* Morris & Co* 
Thefollowingitems,ashavingamorepermanent 
interest than most of these announcements* merit 
a full description : 

1 Two forms of invitation to the annual gather^ 
ings of The Hammersmith Socialist Society on 
Jan* 30, 1892, and Feb* 11,1893* Golden type* 
2. A four^page leaflet for the Ancoats Brother^ 
hood, with the frontispiece from the Kelmscott 
Press edition of A Dream of John Ball on the first 
page* March, 1894* Golden type* 2500 copies* 
3 '. An address to Sir Lowthian Bell, Bart*, from his 
employes, dated 30th June, 1894* 8pages* Golden 
type* 250 on paper and 2 on vellum* 
4. A leaflet, with fly-leaf, headed An American 
Memorial to Keats, together with a form of invi^ 
tation to the unveiling of his bust in Hampstead 
Parish Church onJulyi6,i894* Golden type* 750 
copies* 
60 



5» A slip giving the text of a memorial tablet to Dr* 
Thomas Sadler, for distribution at the unveiling 
of it in Rosslyn Hill Chapel, Hampstead* Nov*, 
1894* Golden type* 450 copies* 
6*Scholarship certificates for theTechnicalEduca^ 
tion Board of the London County Council, prints 
ed in the oblong borders designed for the pictures 
in Chaucer's Works* One of these borders was not 
used in the book, and this is its only appearance* 
The first certificate was printed in Nov*, 1894, and 
was followed in Jan*, i896,by eleven certificates ; in 
Jan*, 1897, by six certificates; and in Feb*,i898,by 
eleven certificates, all differently worded* Golden 
type* The numbers varied from 12 to 2500 copies* 

7. Programmes of the Kelmscott Press annual 
wayzgoosefortheyearsi892'5*Thesewereprinted 
without supervision from Mr* Morris* 

8. Specimen showing the three types used at the 
Press for insertion in the first edition of Strange' s 
Alphabets* March, 1895* 2000 ordinary copies & 
60 on large paper* 

9*Card for Associates of the Deaconess Institution 
for the Diocese of Rochester* One side of this card 
is printed in Chaucer type; on the other there is 
a prayer in the Troy type enclosed in a small bor^ 
der which was not used elsewhere* It was designed 
for the illustrations of a projected edition of The 
House of theWolfings* April, 1897* 250 copies* 



6i 



a&mmmmm. mm ,,-. , .. i ; 



A LIST OF THE BOOKS DESCRIBED 
ABOVE, page 

1 TheGlitteringPlain(withoutillustrations) 21 

2 Poems by theWay 22 

3 Blunt' s Love Lyrics and Songs of Proteus 23 

4 Ruskin's Nature of Gothic 23 

5 The Defence of Guenevere 24 

6 A Dream of John Ball 24 

7 The Golden Legend 25 

8 The Recuyell of the Historyes of Troye 26 

9 Mackail's Biblia Innocentium 27 
10 Reynard the Foxe 28 
n Shakespeare's Poems and Sonnets 28 

12 News from Nowhere - 29 

13 The Order of Chivalry 30 

14 Cavendish's Life of Wolsey 31 

15 Godefrey of Boloyne 31 

16 More's Utopia 31 

17 Tennyson's Maud 32 

18 Gothic Architecture, by William Morris 32 

19 Sidonia the Sorceress 33 

20 Rossetti's Ballads and Narrative Poems 33 
20a „ Sonnets and Lyrical Poems 35 

21 King Floras 34 

22 The Glittering Plain (illustrated) 34 

23 Amis and Amile 35 

24 The Poems of Keats 35 

25 Swinburne's Atalanta in Calydon 36 

26 The Emperor Coustans 36 

27 The Wood beyond theWorld 37 

62 



2.2 The Book of Wisdom and Lies 

29 Shelley's Poems, VoL L 
29a „ „ IL 
29b „ „ III. 

30 Psalmi Penitentiales 

31 Savonarola, De contemptu Mundi 

32 Beowulf 

33 Syr Perecyvelle 

34 The Life and Death of Jason 

35 Child Christopher 

36 Rossetti's Hand and Soul 

37 Herrick's Poems 

38 Coleridge's Poems 

39 TheWell at theWorld's End 

40 Chaucer' sWorks 

41 The Earthly Paradise, VoL L 



41a 
41b 
41c 
4id 
4te 
4 tf 
4»g 



IL 

IIL 

IV. 

V. 

VL 

VIL 

VIIL 



42 Laudes Beatae MariaeVirginis 

43 The Floure and the Leafe 

44 Spenser's Shepheardes Calender 

45 TheWater of theWondrous Isles 

46 Trial pages of Froissart 

47 Sire Degrevaunt 



63 



page 

37 
38 
4» 
41 

38 

38 

39 
40 

40 

41 
42 
42 
42 

43 

44 

47 

48 

50 

50 

5° 

5« 

5* 

5 2 

48 

49 
49 
5» 
53 
55 



page 

48 Syr Ysambrace 55 

49 Some German Woodcuts 56 

50 Sigurd theVolsung 56 

51 The Sundering Flood 58 

52 Love is Enough 58 

53 A Note by William Morris 59 

LEAFLETS,&c. 

Various lists and announcements relating 

to the Kelmscott Press 59 

u Hammersmith Socialist Society,invitations 60 

2* Ancoats Brotherhood leaflet 60 

3* Address to Sir Lowthian Bell 60 

4* An American Memorial to Keats 60 

5* Memorial to Dr*Thomas Sadler 61 

6* L, C* C* Scholarship Certificates 61 

7* Wayzgoose Programmes 6l 

8* Specimen in Strange' s Alphabets 61 

9* Card for Associates of the Deaconess Instil 

tution for the Diocese of Rochester 61 

Other works announced in the listsasinprepara^ 
tion, but afterwards abandoned, were The Trage^ 
dies, Histories, & Comedies of William Shaken 
speare; Caxton's Vitas PatrumjThe Poems of 
Theodore Watts /Dunton; and A Catalogue of 
the Collection of Woodcut Books, Early Printed 
Books, & Manuscripts at Kelmscott House*The 
text of the Shakespeare was to have been prepared 

64 



by Dr* Furnivall* The original intention, as first 
set out in the list of May 20, 1893, was to print it in 
three vols* folio* A trial page from Lady Macbeth, 
printed at this time, is in existence* The same in^ 
formation is repeated until the list of July 2* 1895* 
in which the book is announced as to be a 'small 
4to (special size) / i*e*, the size afterwards adopted 
for The Earthly Paradise* It was not* however, 
begun, nor was the volume of Mr* Watts ^Dun/ 
ton's poems* Of the Vitas Patrum, which was to 
have been uniform with The Golden Legend, a 
prospectus & specimen page were issued in March, 
1894, but the number of subscribers did not jus^ 
tify its goingbeyond this stage* Two trial pages of 
the Catalogue were set up; some of the material 
prepared for it has now appeared in Some Ger^ 
man Woodcuts of the Fifteenth Century* Inaddi/- 
tion to these books,The Hill of Venus, as statedon 
p* 57, was in preparation* Among works that Mr* 
Morris had some thought of printingmayalsobe 
mentioned The Bible, Gesta Romanorum, Malo^ 
ry's Morte Darthur,The High History of the San 
Graal (translated by Dr* Sebastian Evans), Piers 
Ploughman, Huon of Bordeaux, Caxton's Jason, 
a Latin Psalter,The Prymer or Lay Folk' s Prayer^ 
Book, Some Medixval English Songs & Music, 
The Pilgrim's Progress, and a Book of Romantic 
Ballads* He was engaged on the selection of the 
Ballads, which he spoke of as the finest poems in 
our language, during his last illness* 

f 65 



y— 



' gJUUL L 



TTbc following passages arc given to 
show the TIroy & Chaucer types, and 
ffour initials that were designed for 
|tbe f roissart, but never used. 

T>e land is a little 
land,Sirs,toomucb 
shut up within the 
'narrow seas, as it 
seems,tobavemucb 
space for swelling 
into hugeness:there 
^are no greatwastes 
overwhelming in their dreariness, no 
great solitudes of forests, no terri- 
ble untrodden mountain /walls: all 
is measured, mingled, varied, gliding 
easily one thing into another: little 
rivers, little plains, swelling, speed- 
ily/changing uplands, all beset with 
handsome orderly trees; little hills, 
little mountains,nettedoverwith the 
walls of sheep/walks : all is little ; yet 
not foolish and blank, but serious 
rather, and abundant of meaning for 
66 



such as choose to seek it: it is neither TZbie 
prison, nor palace, but a decent home, is the 

LLmmcfiijsrei/Xioy 

CT)GR praise nor type 
blame, but say that 
so itis:some people 
praise this bomeli- 
w ness overmuch, as 
#_Awp if the land were the 
very axle/tree of the 
world;sodonotI,noranyunblind- 
ed by pride in themselves andall that 
belongs to them : others thereare who 
scorn it and the tameness of it: not 
I any the more: though it would in- 
deed be hard if there were nothing 
else in the world, no wonders, no ter- 
rors, no unspeakable beauties. Y et 
when we think what a small part of 
the world's history, past, present, & 
to come, is this land we live in, and 
howmuch smaller still in the history 
of thearts, &yet how our forefathers 
clung to it, and with what care and 

67 









wmmmmmm^^s- 



pains they adorned it, this unromantic, un- 
even tf uMooking landof Bngland, surely by 
this too our hearts may be touched and our 
hope quick ened* 

OR as was the land, 
such was the art of it 
while folk yet troub- 
led themselves about 
such things ; it strove 
little to impress peo- 
ple either by pomp or 
ingenuity : not unsel- 
dom it fell into com- 
monplace,rarely itrose 
into majesty ; yetwas it never oppres/ 
sive, never a slave's nightmare or an 
insolent boast: & at its best it bad an 
inventiveness, an individuality, that 
grander styles have never overpass- 
ed : its best too, and that was in its 
very heart, was given as freely to the 
yeoman's bouse, and the bumble vil- 
lage church, as to the lord's palace or 
the mighty cathedral: never coarse, 
though of ten rude enough, sweet, na- 
tural & unaffected, an art of peasants 
rather than of merchantprincesorcourt/ 
iers, it must be a hard heart, X think, that 
does not love it: wbetheraman has been born 
among it like ourselves, or has come wonder/ 
68 




»"i 



ingly on i ts simplicity from all the grandeur TIbis 
ovgr/8ea8 tSV»HJ4U5^j5S^itgJt4«srs^^ir»¥5ra is the 



&&&&&&&&&&&&&S&&& Chaucer 
Hnd Science, we have loved her well, and fol/ type 
lowed her diligently, what will she do ? X fear 
she is so much in the pay of the counting- 
bouse, tbe counting/bouseand tbedrill/ser- 
geant, tbat sbe is too busy,and will for tbe 
present do not hing. 

/^JeXT there are matters 
which X should have 
thought easy for her, 
say for example teach/ 
ing JMan Chester bow 
to consume its own 
^ smoke, or Leeds bow 
to get rid of its super/ 
fluous black dye with/ 
out turning it into the 
river,wbich would beas much worth 
her attention as tbe production of 
tbe heaviest of heavy black silks, 
or tbe biggest of useless guns. 
Hnybow, however it be done, un- 
less people care about carrying on 
tbeirbusinesswitboutmakingtbe 
world hideous, bow can they care 
about art ? tknow itwillcost much 
both of time and money to better 
these things even a little; but X do 

69 



m 



not see bow these can be better spent than in 
making lifecbeerful&bonourableforotbers 
and for ourselves ; and the gain of good life 
totbecountryatlargetbatwouldresultfrom 
men seriously setting about the bettering 
of the decency of our big towns would be 
priceless, even if nothing specially good be- 
fell the arts in consequence: 1 do not know 
that it would; but X should begin to think 
matters hopeful if men turned their atten- 
tion to such things, andlrepeat that, unless 
they do so, we can scarcely even begin with 
any hope our endeavours for the betteringof 
tbeHrts. (from the lecture called Che Cesser 
Hrts, in Ropes and fears forHrt, by SCUlliam 
JMorris, pages 22 and 33.) 




70 



THIS WAS THE LAST BOOK PRINT. 
ED AT THE KELMSCOTT PRESS. IT 
WAS FINISHED AT NO. XIV UPPER 
MALL, HAMMERSMITH, IN THE 
COUNTY OF LONDON, ON THE 
FOURTH DAYOFMARCH,MDCCCX' 
CVIII. SOLD BY THE TRUSTEES OF 
THE LATE WILLIAM MORRIS AT 
THE KELMSCOTT PRESS. 



tan 



pp 






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